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ART OF PACIFIC CULTURES By: Ara Cho Ian Ting Chris Woodington

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Page 1: Pacific cultures

ART OF PACIFIC CULTURES

By:

Ara Cho

Ian Ting

Chris Woodington

Page 2: Pacific cultures

MAIN SOURCES FOR ART

Australia Melanesia Micronesia Polynesia Modern Art

Page 3: Pacific cultures

BACKGROUND

Land of Oceana settled around 50,000 years ago, after people began to move from Southeast Asia

Life did not change until as early as 7000 BCE when the people of Melanesia began to raise animals and cultivate crops

These aborigines continued this way of life well into the 20th century

Page 4: Pacific cultures

THE LAPITAS

People of Melanesia and western Polynesia Named for a site in New Caledonia Began to settle around 1500 BCE Farming and fishing culture Made distinct ceramics: dishes, platters. Bowls, jars

Page 5: Pacific cultures

FRAGMENTS OF A LARGE LAPITA JAR

Venumbo Reef, Solomon Islands, Melanesia. Circa 1150 BCE

Clay, Height of human face Bands of incised and

stamped patterns- dots, lines and hatching- heightened with white lime

Depicts one of earliest representations of human from Oceanic art

Usually art was entirely geometric with few figurative aspects

Page 6: Pacific cultures

POLYNESIA

Emerged from Lapita on islands of Samoa and Tonga around 1st century CE

Sailed and settled around region, reaching Hawaii around 500 CE and New Zealand around 1000 CE

Widespread region meant varied materials for art

Page 7: Pacific cultures

AUSTRALIA

Original inhabitants life was intimately connected with a concept known as Dreamtime Period before humans, Earth starts out flat and

spirit beings shape it Spirits grew old and departed but their presence

is still felt (climate)Each person has two souls: one mortal and one

immortal, associated with a particular ancestral spirit.

This is a focus point for art, goal of many paintings is to restore contact with Dreamtime

Page 8: Pacific cultures

ARNHEM LAND

Earliest remains found in North People continued Paleolithic lifestyle well into 20 century Ceremonial life included ritual body painting as well as

ornamentation of implements and interiors of bark houses

Rock paintings famous for association with Dreamtime

Page 9: Pacific cultures

ROCK PAINTING

X-ray style Bones, internal organs, spinal column, heart, stomach

QuickTime™ and a decompressor

are needed to see this picture.

Page 10: Pacific cultures

MIMIS AND KANGAROO

Oenpelli, Arnhem Land, Australia 18,000-7,000 BCE Red and yellow ocher and white pipe clay Four legs showing Both ears Same time roughly as cave painting in Europe Painting on top of earlier, sticklike figures

paintings

Page 11: Pacific cultures

BARK PAINTING

Origin myths, rituals Continued X-ray style in western, in eastern developed

new style based on ritual body painting Yolungu rarely reveal full meaning of art Used styles like dotting and cross-hatching, known as

rarrk Still very geometric in style

Page 12: Pacific cultures

MELANESIA

Same purpose as art in Australia More agricultural, places set aside for ritual worship Woman barred from ritual arts, but still produced goods

such as bark cloth Ritual objects not made to last

Page 13: Pacific cultures

NEW GUINEA

Two main countries, Papua New Guinea, Irian Jaya Diversity of both people and climate: leads to different art

forms Over 700 languages identified

Page 14: Pacific cultures

BOATS IN OCEANIA

From fishing vessels to war canoes, varied in size greatly

Materials make building different for each culture

Sails or paddles Most purely functional, not much

ornamentation Only war canoes had decoration, political and

martial face of culture, intimidation factor Mostly on prow and stern, depicted animals,

humans, spirals and other geometric designs. Some inlaid with shells and others painted.

Most elaborate came from New Zealand

Page 15: Pacific cultures

CANOE PROW

Trobriand Islands,

Milne Bay Province,

Papua New Guinea Modern

QuickTime™ and a decompressor

are needed to see this picture.

Page 16: Pacific cultures

IRIAN JAYA

Asmat live in grasslands on southwest coast Known as warriors and headhunters Identified trees with humans, fruit Birds and Praying mantis headhunters in war and

mortuary art Honor dead, memorial poles erected, known as mbis Ceremonies reestablish balance between life and

death Contain souls of deceased

Still same upkeep as other ritual art

Page 17: Pacific cultures

ASMAT ANCESTRAL SPIRIT POLES

Irian Jaya, Indonesia Wood, paint, palm leaves Height 18’ Enemy head placed in

cavity at base Figures representing tribal

ancestors support recent dead

Bent pose like praying mantis

Birds are shown breaking open nuts

Top represents male fertility

Page 18: Pacific cultures

NEW IRELAND

Large eastern islands of Papua New Guinea Practice ceremonies for family known as

malanggan Also honor dead, masks are made to go

along with funeral rituals Involve whole community, strengthen social

relations and property claims Works displayed before ceremony include

masks, ritual dance equipment, freestanding sculpture and figures on poles representing dead

Page 19: Pacific cultures

TATANUA DANCE MASKS

One of dances in malanggan is called tatanua References dance itself or masks that participators

wear Masks represent one of three souls of dead Carved and painted Employ simple geometric designs, ladders, zigzags,

and sometimes feathers Paint applied in ritual order

First lime white- magic spells Red- recall spirits of dead Black Charcoal- warfare Lastly yellow and blue for decoration Colors and symbols different for each side- allow

dancers to represent different appearances with a turn

Page 20: Pacific cultures

MICRONESIA

Four major island groups: Pohnpei, Chuuk, Yap and Kosrae

Micronesia’s islands are small, low-lying coral islands

Basalt cliffs of island of Pohnpei provide material for stone architectural complexes in Oceania

The ancestors of Micronesia settled Caroline Islands over 4000 years ago

Page 21: Pacific cultures

GABLE FIGURE (DILUKÁI)

19th–early 20th century Wood, Paint Caroline Islands The significance is really

uncertain In some traditions there was a

troublesome man who fled to meeting house (bai) with his sister and they were later expelled

To prevent his return the residence put a this over the entrance

This meaning the brother was forbidden to see his sister naked

Page 22: Pacific cultures

WEATHER CHARM (HOS)

late 19th–early 20th century

Caroline Islands Wood, stingray spines,

fiber, lime The navigator would

bring this charm and would blow into this to invoke the sprits a recites a chant to drive away the on coming storm

Page 23: Pacific cultures

SEATED FIGURE

late 19th–early 20th century

Caroline Islands Wood, shell, traces of

paint and resin The seated figures

gender is undetermined These were commonly

found around the Caroline Islands

Which indicates that this seated figure common origin and function

Page 24: Pacific cultures

NAN MADOL

On the southeast coast Consists of 92 artificial

islands It is built on top of coral reef Largest and most

impressive, reflecting the importance of the kings who ruled from the site

Some may call it the lost city of Nan Madol

Page 25: Pacific cultures

NAN MADOL (CONTINUED)

The site was abandoned by the time the Europeans came in, in the 19th century

No one knows who built these ruins and how the columns were built

Besides the ruins there are no carvings or art left behind

The Saudeleur were the ones that ruled the island for more than a millennium

Page 26: Pacific cultures

POLYNESIA

It was the last area of the Pacific to be settled by humans

Also the last area to be mapped and colonized by the Europeans

Polynesian art served as indicators of rank and status

Their art were often handed down to generation to generation as heirlooms

Page 27: Pacific cultures

MALE FIGURE (MOAI TANGATA)

early 19th century Easter Island Wood, obsidian, bone Little is known about the

nature and the use of this figure

This figure may represent a family ancestor

It also may have been intended to portray specific individual

Page 28: Pacific cultures
Page 29: Pacific cultures

BREASTPLATE (CIVANOVONOVO)

early 19th century Fiji (created by Tongan

artists) Whale ivory, pearl shell,

fiber These were worn exclusively

by male chiefs In the Fiji islands these were

very precious and powerful These were used in battles

or other dangerous activities

Page 30: Pacific cultures

EASTER ISLAND

Easter Island is one of the most famous places but the least visited

It has three volcano's on each end making the island a triangular shape

The island was named by a Dutch captain Jacob Roggeveen

He named because he visited the island on Easter Sunday in 1722

He became the first European to visit

Page 31: Pacific cultures

MONUMENTAL SCULPTURES

These sculptures are scattered across the island

Mostly all of them are carved out of hard stone

No one really knows how they got there

The average statue is about 14 feet long and weigh up to 14 tons

Some are 33 feet and weigh more then 80 pounds

Page 32: Pacific cultures

MARQUESAS ISLANDS

The first inhabitants of Easter Island were probably voyagers from the Marquesas Islands

They are made up of several volcanic islands

The natives were known for their warfare

The natives were also noted for cannibalism

Page 33: Pacific cultures

WAR CLUB

The fighting in Marquesas Islands were usually hand to hand

The warriors used elaborate ceremonial dress to convey their rank and status

They also had highly developed art in which they would tattoo their faces with different patterns

Page 34: Pacific cultures

NEW ZEALAND

Last part of of Polynesia to be settled

Sometime 10th century CE

Geographically isolated 1st Contact in 1769 by Captain

Cook Early Polynesian settlers

became known as the Maori

Page 35: Pacific cultures

CHRONOLOGY

Maori Scholars established these periods (translated): The Seeds (900-1200) The Growth (1200-1500) The Flowering (1500-1800) The Turning (1800-present)

Page 36: Pacific cultures

MAORI PEOPLE

Share many cultural practices with other Polynesian societies

Divided into different clans sometimes at war

Page 37: Pacific cultures

ART AND RELIGION

In Maori legend, the first artists were gods “tohunga” means expert (artist) but also priest

The artist, the artwork, and the tools are all holy Art is judged on spiritual connection

A prized artwork must have a history of contact with mana

Tapu prevents artworks from being repaired

Page 38: Pacific cultures

TATTOO

The Maori had facial tattoos called moku

Men wore them all over their face

Women had them on their lips and chins

They were complex patterns Each pattern is original;

could be used as a signature Tattoos show authority

Page 39: Pacific cultures

MAORI WOOD CARVING

Distinctive of Maorie Combined massive form with

delicate ornament Depict tiki figure with ocean

inspired imagery Finished with red clay and

shark-liver oil Carved Lintel18th CTotara wood and haliotis shell40x16x2”

Page 40: Pacific cultures

MEETINGHOUSE

Demonstrate primacy of ancestral connections The building is the body of an ancestor

Central beam=spine Rafters=ribs Barge boards=arms

Page 41: Pacific cultures

TE HAU-KI-TURANGA MEETING HOUSE

Built 1842-5 by Raharuhi Rukupo and assistants Preserved in a museum 1935 Built with metal tools Includes a self portrait

Page 42: Pacific cultures

Meeting House Stave Church

Page 43: Pacific cultures

HAWAII

Settled 300CE and again 900CE

Developed high stratified social structure

Unified under Kamehameha I

Page 44: Pacific cultures

RELIGIOUS SCULPTURE

Kamehameha I was dedicated to the war god Kukailimoku

Genealogical links reinforced right to rule

Originally situated in a temple enclosure

Dramatic expression of fury

KukailimokuLate 18th or early 19th centuryWoodHeight 7’7”

Page 45: Pacific cultures

FEATHER CLOAKS

Art to visualize and reinforce hierarchy Color red-high status and rank Labor intensive to make

Requires from 50,000 to 500,000 feathers

Kearny Cloakc. 1843Red, yellow, and black feathers, olona cordage, and nettingLength 56”

Page 46: Pacific cultures

MUSIC Pacific cultures use oral tradition Instruments were used to accompany vocal recitations and

songs Sisyphean theme present in music

Struggle against fate/existence

Maori Flute Hawaiian Gourd DrumRotinese Tube Zither (Sasandu)

http://www.youtube.com/watch?v=0zZpYlGuD7I

Page 47: Pacific cultures

MODERN PACIFIC ART

Oceanic cultures abandoned many traditional practices Mostly due to colonial and missionary pressure

Now Reintegration is occurring Cultural renewal Adapting modern tools and medium to traditional topics

Page 48: Pacific cultures

TAWHIRI-MATEA (GOD OF THE WINDS)

Made 1984 by Cliff Whiting Reemergence of Maori wood carving New Colors; oil on wood and fiberboard Depicts events from Maori creation myth

Page 49: Pacific cultures

UKULELES

Page 50: Pacific cultures

http://www.state.gov/r/pa/ei/bgn/1839.htm http://www.metmuseum.org/toah/works-of-art/1978.412.1558a-d http://www.metmuseum.org/toah/works-of-art/2003.243 http://www.smithsonianmag.com/history-archaeology/Nan-Madol-The-

City-Built-on-Coral-Reefs.html http://www.metmuseum.org/toah/works-of-art/1984.526 http://www.metmuseum.org/toah/works-of-art/2003.8 http://www.world-mysteries.com/easter_island.htm http://sacredsites.com/americas/chile/easter_island_facts.html http://en.wikipedia.org/wiki/Lapita http://www.berkeley.peralta.edu/apps/docs.asp?Q=Projects/

10051&V=60 http://www.flickr.com/photos/8309065@N04/2530734104/ Kleiner, Fred S. Gardner’s Art through the Ages: Non-Western

Perpectives. 13th Edition. Boston, Massachusetts: Wadsworth, Cengage Learning, 2010.

O’Riley, Michael Kampen. Art Beyond the West. 2nd Edition. Upper Sadde, New Jersey: Pearson Education Inc., 2006.

Stokstad, Marilyn. Art History. 3rd Edition. Upper Saddle River, New Jersey: Pearson Education Inc., 2008.

"Sounding the Pacific: Musical Instruments of Oceania.” The Metropolitan Museum of Art, New York: Metmuseum.org. 9 Nov. 2009. Web.

Art History Textbook